|The Thames Below Westminster, 1871, Claude Monet, in refuge from war.|
|Nocturne in Blue and Silver, 1871, James McNeill Whistler. Same river, same year, |
it's not hard to see Manet's influence, though it's likely the artists influenced one another.
|Charing Cross Bridge, 1899, Claude Monet,|
painted when Monet returned to London.
|View of the Thames, Charing Cross |
Bridge, 1874, Alfred Sisley, after the war.
Later, once there developed a modest market for Impressionism in England, due largely to the efforts of dealer, Paul Durand-Ruel, there flowed back across the channel several true French Impressionists such as Alfred Sisley and Berthe Morisot. Durand-Ruel had, during the war, purchased several Impressionist paintings by Monet, Pissarro, and others. These he had shown around the country in various exhibitions in the years after the war, sparking interest amongst younger British artists, if not the public at large, in the new movement. Thus it could be said, despite fierce resistance from the critics (principally Ruskin) and the British art establishment (primarily, of course, the Royal Academy) Impressionism sort of "infiltrated," almost surreptitiously, into the fringe of British art during the last twenty years of the Victorian period. But surprisingly, given its antecedents in the work of J. M. W. Turner, Impressionism took longer to "catch on" in England than it did an ocean away in the U.S. Impressionism in America was quite popular well before the turn of the century. In England, despite Turner, Durand-Ruel, Whistler and all his followers, it never achieved this degree of popularity.
|The City Atlas, 1888-90, Sidney Starr, Impressionism takes root in England.|